Reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar.

Summer of ’42, directed by Robert Mulligan tells the story of three friends who vacation on an island in the Summer of ’42 and how certain events transform their lives. The film opens with montage of nostalgic photos set melancholic non-diegetic music. In turn, the beat increases in tempo becoming more upbeat and more pensive. The film won an Oscar for Best Music. Voice-over narration informs the audience of a time and place. the time is when the narrator was fifteen years old, and the place is an island where the narrator’s family came for summer vacation. It was a simpler time and a less hectic locale where loneliness tended to abound.

In the opening scene, Director of Photography, Robert Surtees uses an out of focus establishing shot before bringing a foregrounded flowered bed into focus eventually bringing the three running figures into focus on a beach.  The narrator introduces his friends that summer, Oscy, his best friend, and Benji, his next to best friend. The three called themselves the Terrible Trio. They find themselves on a beachhead position to see a beach house with a young couple and its pile of freshly cut firewood. With an element of foreshadowing the narrator continues with,

“That was her house. And nothing from that first day I saw her. And no one that has happened to me since been as frightening and confusing. For no person I have ever known has done more to make me feel more sure, more insecure, more important and less significant.”

The voice-over ends and the film transitions to the friends spending a typical summer day, horsing around and sharing moments of teen angst. In a vein similar to American Graffiti, the majority of the film centers around the relationships between Oscy and the narrator, Hermie. They meet girls, go on a double date to a Bette Davis flick, and spend a coming-of-age moment with their dates on the beach at night. Through it all, Hermie has his eyes on Dorothy (Jennifer O’Neill), the attractive wife of a naval officer called to duty in World War II. Hermie befriends Dorothy helping her with carrying groceries and putting boxes into the attic.

When Dorothy receives news, her husband has perished everything changes and nothing will ever be the same. Dorothy departs for her home leaving a note for Hermie on the door of her beach house wishing Hermie well and to be kept safe from any senseless tragedy. The film concludes with a wistful voice-over narration from Hermie on the porch of Dorothy’s now vacant beach house,

“I was never the see her again. Nor was I ever to learn what became of her. We were different then. Kids were different. It took us longer to understand the things we felt. Life is made up of comings and goings….and in the Summer of ’42…, in a very special way, I lost Hermie forever.”

I first saw the ‘Summer of ’42 when I was the same age as the Terrible Trio. The film had a profound impact on me despite not knowing any of the devices the filmmaker uses to elicit such a response. The musical score by Andre Hossein and Michael Legrand mixes highs and lows while changing pace with subtlety. The mise-en-scen, especially the cinematography, is done with an artful touch full of revelation at the beginning and ending of the narrative. In addition, Gary Grimes’ acting is excellent as he seems to convey the utmost emotionality at the precise moment needed. And O’Neill’s presence onscreen is captivating. Also, Houser more than holds his own as Oscy.

Produced and distributed by Warner Brothers, the film came in with a runtime of one hour and forty-four minutes. The pacing is good. Very few dull moments. Pay close attention to the music and cinematography, especially at the beginning and end of Summer of ’42. You’ll be glad you did! Highly recommended.

Reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar

North by Northwest, is considered by many to be one of cinema’s greatest films. Director Alfred Hitchcock, a master of suspense, is at the peak of his powers as a director, having been making films in the United States for two decades. In addition, the film’s musical conductor, Bernard Hermann, is at the peak of his powers as a conductor. The result are great, veteran actors, Cary Grant (Caplan, Eva Marie Saint (On the Waterfront), and James Mason (Lolita), who know their cues, and informative non-diegetic, music creating arguably Hitchcock’s best cinematic suspense. Hitchcock and Herman had worked on five films together. This was their sixth and final film working together.

In a typical Hitchcock fashion with cheeky humor, romance, and popular monumental locations – this one is Mount Rushmore – North by Northwest checks all the boxes. And, as most Hitchcock films involve a mystery, chase or revelation, so does this one. Moreover, the audience is treated to espionage. Roger Thornhill (Grant) is a Madison Avenue Ad Man (Mad Men), who is kidnapped, due to mistaken identity, forced to drink a copious amount of bourbon whiskey, by spy Phillip Vandamm (James Mason)  and gets put behind the wheel of a convertible at nighttime on a roadway as narrow and treacherous as Pacific Coastal Highway through Big Sur. Eventually, Thornhill winds up in a police station after some dramatic driving and several close calls. He calls his mother, Clara Thornhill (Jesse Royce Landis), highly intoxicated, and has to tell his mother he has not been drinking when she asks. A courtroom appearance for the drunk driving charge has its moments and sharp quips.

But the film heats up energetically when, on a moving train, Eva Kendal (Eva Marie Saint) appears to save Thornhill from capture due to murder at the United Nations. In beautifully orchestrated intimate moments Kendall and Thornhill hit it off over dinner before retiring to her compartment. Seemingly, Thornhill is smitten while Kendall seductively encourages him. The two eventually part ways as Kendall gives Thornhill an address to meet the mysterious Caplan, the man Thornhill was mistaken for in the beginning of the film. Thornhill takes the bait and one of the most recognizable scenes in cinema takes place. Afterwards, Thornhill realizes he’s been set up and confronts Kendall. Kendall begins to reveal her secret identity, all but outright admitting she’d been toying with Thornhill. She also reveals the man she works for, Vandamm, and what he does – he’s a spy. After a hilarious escapade at an auction, the film moves to the Mount Rushmore area in South Dakota.

While North by Northwest is a bit cheeky it is also very stylish and has an air of sophistication. The film was released in December, 1959. With the costuming – think of Mad Men – sharp-looking suits and dresses (Harry Kress), well-groomed characters, and stylish haircuts (Sydney Guilaroff) . As far as the cinematography and mise-en-scen are concerned. I imagine a high angle shot of Thornhill escaping his office building as Vandamm’s thugs are pursuing him, is the impetus for Roger Deakins high angle, rooftop setup in Fargo (1996). North by Northwest was produced by MGM and was the first film Hitchcock made with MGM. According to the American Film Institute’s film catalog details, Hitchcock suggested the murder at the United Nations and the Mount Rushmore scenes.

With the rapid pacing of the film going from one locale and one chase to another – seemingly the film only slows down to capture the chemistry and the intimacy between Grant and Marie Saint – the run time of two hours and sixteen minutes is not only fast, it flies by. I also enjoyed the opening of the film with credits rolling in unique typography juxtaposed against a dynamic green, line-infused background with a very interesting musical composition. And, as he’s known for often doing, Hitchcock has a cameo – one of my favorite discoveries in watching a Hitchcock film. I’m not giving it away. North by Northwest is a “must-see” film. Highest recommendation.

Written and reviewed by Larry Gleeson

Moulin Rouge (1952), directed by John Huston (The Treasure of the Sierra Madre, Chinatown), stars Jose Ferrer, Zsa Zsa Gabor, Colette Marchand, and Susan Flo, and is based on the novel, “Moulin Rouge,” by Pierre La Mure. The film was nominated for six Oscars winning two, one for Best Art Direction-Set Decoration, Color (Paul Sheriff, Marcel Vertes), and one for Best Costume Design, Color (Marcel Vertes). Houston makes the artist Henri de Toulouse-Lautrec (Jose Ferrer), the central character in the fictional narrative. The casting is excellent. The musical score (Lambert Williamson) doesn’t miss a beat. The mise-en-scen is basically responsible for the film’s two Oscars.

The film opens with a text overlay introducing the theme of Moulin Rouge:

“His palette is caked, his brushes are dry, yet the genius of Henri de Toulouse-Lautrec is as fresh and alive as the day he laid them down. Here, for a brief moment, they shall be restored to his hands, and he and his beloved city and his time shall live again.”

Henri de Toulouse-Lautrec, born into an old, prominent aristocratic family was a Post-Impressionist (Van Gogh, Gauguin, Cézanne, and Serault) painter, caricaturist, print maker, draftsman, and artist. Toulouse-Lautrec broke his legs in adolescence. His legs stopped developing giving him a distorted appearance.

After suffering ridicule at the hands of a woman of equal social standing, Toulouse-Lautrec moved to the Montmarte, the center of bohemian life in Paris. During this time, he began imbibing in alcohol, frequenting brothels, cabarets and dance halls – many of the individuals he encountered became his subject matter.  In addition, Toulouse-Lautrec was an early pioneer of poster design, and became a fixture of Parisian nightlife, particularly at the Moulin Rouge, the most popular and scandalous entertainment venue. Many of the Moulin Rouge characters also became fodder for his art. Eventually, Toulouse-Lautrec developed alcoholism, and due to complications, died at the age of 36. His legacy was a collection of elegant, provocative work of bohemian 19th Century Parisian lifestyles.

Throughout film history several films have been made about the infamous Moulin Rouge. A French film was released in 1940, featuring the extraordinary American-born French singer, dancer and actress, Josephine Baker, as Princess Tam-tam.  In addition, a 1934 Pre-code, Hollywood musical comedy featured Constance Bennet and Francine Tone as well as a recently restored 1928 silent film with a synchronized soundtrack. The most latest was the somewhat bizarre 2001 musical, Moulin Rouge! by Baz Luhrmann, featuring Nicole Kidman.

Director John Huston was seemingly more interested in recreating Toulouse-Lautrec’s art works than the accuracy of Henri de Toulouse-Lautrec’s life with his Moulin Rouge titled film. Toulouse-Lautrec’ s art works are a visual smorgasbord and are on full display throughout. Huston also hired a color consultant. The resultant mise-en-scen is full of oranges, yellows, and pinks splattered across a blue-green backdrop (Shape of Water). With rarely a dull moment, Huston hit his mark as his Moulin Rouge is eye-catching with colorful costumes, colorful characters, and a compelling narrative. Huston even managed to create a happy ending element that brings a smile to a face. Highly recommended.

Written and reviewed by Larry Gleeson

Oscar-Worthy Lawyers. To Kill A Mockingbird, a black and white film, based on Harper Lee’s novel of the same title, tells the story of a Deep South attorney, Atticus Finch, who defends a black man accused of rape while teaching his children about the world’s racial prejudices. Gregory Peck embodies Atticus Finch in a credible way with mannerisms, costuming, voice, and intelligence. Finch has two children, a rambunctious, ten-year-old son, Jem (Phillip Alford) and the precocious six-year-old, tomboy, Scout (Mary Badham). The story is set in Depression-era, Maycomb, Alabama, 1932.

While the introductory credits are rolling, non-diegetic, a pair of young hands open a box in a directly overhead frame, a “god shot,” revealing the contents of a cigar box with items that the viewer will see throughout the film. The musical score by Elmer Bernstein competes with the young girls playful humming. The film opens with a descending crane shot revealing a dirt road with a man in the distance walking toward camera as a voice over narration begins, “Maycomb was a tired-old town even in 1932 when I first knew it…there was nowhere to go, nothing to buy and no money to buy it with, although Maycomb County had been told there was nothing to fear but fear itself. That summer I was six years old.”

To Kill A Mockingbird is told through Scout’s eyes presumably in 1962 when the film came out. Mulligan through the narrative voice over segues the viewer into the realities of 1932 in Maycomb, Georgia, with “lazy days,” childhood antics, and coming of age. The viewer is also introduced to Boo Radley (Robert Duvall), Miss Dubose are two colorful characters. Miss Dubose is a crotchety old dame who chides the Finch children for their manners. Boo Radley is an enigmatic figure in the neighborhood with numerous stories circulating about Boo’s behavior. Jem claims Boo is six and a half feet tall and is kept chained to a bed except at night when he’s let out. Furthermore, Jem tells Dill, a character inspired by Harper Lee’s childhood friend, Truman Capote (In Cold Blood), Boo eats squirrels and cats when he’s out at night and drools all the time with popped out eyes.

At the end of the first act, Atticus explains to how he was taught “to kill a mockingbird” was a sin. Atticus explained mockingbirds “just make music for us to enjoy…they sing their hearts out for us. “But when Atticus is selected to publicly defend Tom Robinson, a black man accused and convicted of raping a white woman despite his obvious innocence, the world changes. Leading up to the trial and after, racial prejudice runs rampant. After Mr. Robinson is shot and killed supposedly while trying to escape while he was being driven to prison. In poetic justice, an unlikely hero emerges in the form of Boo Radley at the film’s climactic moment.

The courtroom scenes during the Robinson trial are the film’s most dramatic and telling of the prejudicial injustice embedded within the trial by jury theory in Maycomb County. The presumption of the theory is twelve members of the jury not only come from the community but are also considered peers, and/or social equals – not the case in the trial of Tom Robinson.  To Kill A Mockingbird is considered a classic, and rightfully so, in my opinion. The film deals with racial prejudice in a very dramatic manner through the trial of Tom Robinson. Furthermore, the characters are compelling and colorful. While Atticus Finch may not have all the answers for his young children, they both seem to be on the path of righteousness. Highly recommended.

Written and reviewed by Larry Gleeson

Mildred Pierce, directed by Michael Curtiz, is part of this year’s annual TCM 31 Days of Oscar under the theme, Oscar-worthy Moms. Mildred Pierce, the film’s lead character, is portrayed by Joan Crawford. Crawford came from Broadway and first distinguished herself in film as a “flapper,” with notoriety on par with Greta Garbo. Crawford usually portrayed hard-working women who achieved financial success. When her films began losing money Crawford took a two-year hiatus before returning for Mildred Pierce, another hard-working woman achieving financial success.

The film opens with a dark establishing shot of a car, headlights on, parked in front of a beach house. Gun shots are heard. A transition is made to a gentleman in a black tuxedo receiving the bullets. He falls to the floor and before expiring utters, “Mildred.” Non-diegetic music creates tension and suspense. Shadows move in the frame. A woman drives off through a wisping marine layer. A crime has been committed possibly by a woman named Mildred, a potential femme fatale. Mildred Pierce has all the ingredients of a tasty film noir.

Mildred is no slouch as the film shows her attempting to implicate her ex-lover, Wally, who earlier in the day took a large share of her highly successful business. After the police discover the body, the usual motive-based suspects, are brought in; Burt,the first husband, Wally, and Mildred. It seems everyone in the police department smokes cigarettes with second-hand smoke wafting throughout the common area. Wally and Burt are questioned first. Mildred is finally brought in to talk with Inspector Peterson (Moroni Olsen). The Inspector boastfully tells Mildred he knows everything, and that Mildred is cleared. Before she leaves, Mildred asks the Inspector who the killer was.

The Inspector tells Mildred it was her first husband, Burt Pierce. Mildred says it can’t be Burt and tries to get Wally charged. The Inspector tells Mildred Wally had no motive. Mildred retreats and claims Burt is too kind and gentle. The Inspector jumps on this –  questioning Mildred, “Okay he’s kind and wonderful…why did you divorce him?” Dejectedly, Mildred sits back done and begins with, “Because I was wrong. It’s taken me four years to realize I was wrong. But I was wrong.” In a close up with vignetting Mildred begins telling her story from four years ago. A dissolve transition, indicative of time passing, retreats the narrative four years prior,

Mildred details her life with Burt marrying at 17.  Burt had misgivings about how Mildred was raising the children Mildred told Burt the kids come first, and he can pack his things. Mildred remarries to a high society gentleman,  of reported means, to help give her surviving daughter, Veda (Ann Blyth), a better world. But Mildred can’t seem to do enough for Veda. Veda becomes a conniving, irascible, young woman never appreciating the sacrifices Mildred makes for her.  Finally, Mildred has had enough and takes an action well overdue.

Warner Brothers produced Mildred Pierce as a morality story, a fable. The film came out in 1945. World War II had ended. The need for working women diminished and was seen as no longer proper. Women were expected to leave their work and return to the home. Since Mildred Pierce is very successful as a businesswoman, the times propagate she must be punished for not being a happy homemaker. True to form, Mildred loses her hard-fought financial freedom and must confront her life choices. With a fast run time of one hour and fifty-one minutes, Mildred Pierce has strong production values, effective continuity editing, mesmerizing cinematography and a driving musical score. In addition, the film has a compelling narrative and an attractive, well-seasoned cast. Highly recommended.

Written and reviewed by Larry Gleeson

Cabin in the Sky, another classic film from the 2025 TCM 31 Days of Oscar, directed by Vincente Minelli, is based on a jazz and blues-influenced, musical play with book by Lynn Root, lyrics by John Latouche and music by Vernon Duke. With an all-black cast the film is very dynamic with elements of folklore and spiritual themes. The film came out in 1943. Most all black cast films were known as “race films.” With the Production Code of 1930 in full force, most race films had to have music, religion, and down-home characters. In Cabin in the Sky, the Production Code would not give approval due to the character of Georgia Brown. The character was toned down. Lena Horne, a jazz singer, actress, civil rights activist and one of the first black performers to be signed by a major studio, portrays Georgia Brown.

The story revolves around Little Joe, portrayed by a comedian from the Jack Benny radio show, Eddie “Rochester” Anderson. Little Joe is a compulsive gambler with a devoted and religious wife, Petunia. Petunia is portrayed by Ethel Waters, a well-known Broadway singer. In addition, Waters was the second African American to be nominated for an Academy Award, the first African American to star on her won television show, and the first African American nominated for a Primetime Emmy. Petunia wants Joe to repent and be saved by Reverend Green, at the upcoming evening service.

The church is full and the congregation breaking into song as they work themselves up into religious fervor. It is a sight and sound to behold. As repentance begins, Petunia nudges Joe to go on up. Joe isn’t there. Petunia believes Joe has already go up to be saved for his sins.  But three hustling polecats distracted Joe, who is now outside the church being coerced into a dice game with Domino Johnson, another ner’ do well. Joe tries to plea he’s given up gambling for Petunia’s sake. But when the hustlers tell Joe, he’ll be rolling with their money, their dice, and that Georgia Brown would be there, Joe seems to lose his will power and is dragged off to the dice game.

At the dice game, Joe loses all the money and is deeply indebted. Joe gets shot and as he lays on his deathbed The Devil and his “coal heavers” have come for Joe. Petunia gets on her knees bedside and prays to God and several of heaven’s soldiers appear to do battle for Joe’s soul. God decides to give Joe six months to turn his life around. But the Devil has given Joe a 1-A classification. This is where the film really gets interesting. New characters are introduced including Louis “Satchmo” Armstrong, one of the most influential figures in Jazz history with such classics as “Hello Dolly,” “It’s a Wonderful World,” and “Dream a Little Dream of Me,” among many others. Armstrong is playing the trumpet at the private Hades Hotel Idea Dept., and his cohorts start dancing and clapping when suddenly Lucifer, Jr. (Rex Ingram) comes in and chastises them under the guise of office efficiency.

It doesn’t take the Idea Dept. long to come up with a way to get Joe’s soul. Joe wins the Irish sweepstakes. Lucifer, Jr., sends Georgia Brown to tempt Joe. In a misunderstanding with Petunia Joe goes off with Georgia Brown and is living fast. In a spectacular nightclub scene with Duke Ellington and his Jazz Orchestra, trombone player J.J. Johnson engages the crowd in a one-of-a-kind call and response number. Petunia shows up in a glittering gown and wants half of the money Joe won.   Georgia Brown wants a cut, too, and Domino Johnson has come for Joe as well.

Not giving away the ending, suffice to say Cabin in the Sky is an enormously entertaining film. The costuming, set designs, acting, the narrative, and the choreography are special as they are spectacular. The song and dance numbers are fluid and full of vim and verve. Lena Horne, as Georgia Brown, is vivacious with her voice and look.  There might be one or two moments where the audience can catch a breather. From start to finish, Cabin in the Sky is a gem. Highly recommended.